<abstract><title style='display:none'>Abstract</title>The article discusses the activities of selected women-composers who worked in Poland in the 19th century. They have been presented in a broad social-political context. Specific historical conditions have been taken into account, which have contributed to the perception of women’s creativity as a mission. The model of women’s activity discussed in the categories of social and political mission influenced the shape and forms of Polish women’s creativity in the first half of the century. In the second half of the century, women’s access to education increased and finally a milieu of professional women-composers emerged. Among them, we should distinguish the group of women born into musical families, due to the fact that some among them took up the profession of composer.</abstract>

Polish Female Composers in the Nineteenth Century

<abstract><title style='display:none'>Abstract</title>The paper is an attempt at a synthetic presentation of the Polish composer Grażyna Bacewicz’s (1909–1969) musical output and artistic career, presented against the background of events in her personal life, and of major events in Polish and European history in the first seven decades of the 20th century. Bacewicz was called ‘the Polish Sappho’ already in the years between World Wars I and II, when there were very few women-composers capable of creating works comparable to the most eminent achievements of male composers. Her path to success in composition and as a concert soloist leads from lessons with her father, the Lithuanian Vincas Bacevičius, to studies at the Łódź and Warsaw Conservatories (violin with Józef Jarzębski, composition with Kazimierz Sikorski), and later with Nadia Boulanger at the École Normale de la Musique, as well as violin lessons with André Tourret. Her oeuvre has for many years been linked with neoclassicism, and folkloric inspirations are evident in many of her works. Her crowning achievement in the neoclassical style is the <italic>Concerto for String Orchestra</italic> of 1948, while influences from folklore can distinctly be heard in many concert pieces and small forms. The breakthrough came around 1958, under the influence of avant-garde trends present in West European music, which came to be adapted in Poland thanks to the political transformations and the rejection of socialist realism. In such pieces as <italic>Music for Strings, Trumpets and Percussion</italic> of 1958, Bacewicz transforms her previously fundamental musical components (melody, rhythm, harmony) into a qualitatively new type of sound structures, mainly focused on the coloristic aspects. Grażyna Bacewicz also applied the twelve-note technique, albeit to a limited extent, as in <italic>String Quartet No. 6</italic> (1960). Her last work was the unfinished ballet <italic>Desire</italic> to a libretto by Mieczysław Bibrowski after Pablo Picasso’s play <italic>Le désir attrapé par la queue</italic>.</abstract>

Grażyna Bacewicz – The Polish Sappho

<abstract><title style='display:none'>Abstract</title>The present article reflects on the shortage of studies concerning music-composing women in the 18th-century Polish-Lithuanian Commonwealth, and focuses on one unique figure among those female musicians – Maria Antonia Walpurgis, an aristocrat of Polish descent, who demonstrated versatile talents. Thoroughly educated in her childhood, she was a poet, composer, singer, and director of her own stage works. This paper discusses the aristocratic artist’s most important experiences and achievements in the field of music, as well as analysing her earliest surviving work, the cycle of <italic>6 Arias for Soprano, Strings and Basso Continuo</italic> (1747), which Walpurgis may well have performed herself. The arias have been preserved in a manuscript kept at the Sächsische Landesbibliothek in Dresden, shelf mark Mus.3119-F-11. My analysis assesses their style and aesthetic.</abstract>

Music-Making Women-Aristocrats

<abstract><title style='display:none'>Abstract</title>The world of the Jews must have attracted Kolberg, who as an educated
member of the intelligentsia must have been conscious of what was
happening in Judaism in his times. The nineteenth century was
indeed a time of the flourishing Hasidism, the travelling hazanim, the
development of the Jewish Enlightenment movement (the Haskalah),
a great numbers of Jewish Tanzhaus openings. Jewish themes also
appear in almost every volume of Kolberg’s Complete Works. However,
Jews only formed the backdrop for the events taking place among
Poles. Only in the case of a few records left by Kolberg can we surmise
that the musical performers were themselves Jewish. This is most likely
true of five songs with texts in the Yiddish language. More melodies
set down in writing from the Jews or from the repertoire taken over
by Polish musicians are probably to be found among the pieces without
verbal text or referred to by Kolberg as ‘dances’. It is unknown whether
Jewish musicians played Jewish melodies for Kolberg, but we cannot
exclude the possibility of their performances constituting a basis
for some transcriptions of pieces that were not marked as Jewish.</abstract>

Kolberg and Jewish Music

<abstract><title style='display:none'>Abstract</title>Henryk Oskar Kolberg (1814–1890), a musician, composer,
the greatest Polish ethnographer and one of the fathers of European
ethnomusicology, collected over 20,000 folk songs, dances, and
instrumental melodies from the territory of today’s Poland, Belarus,
Ukraine and other Slavic countries. The musical culture of the Hutsuls
was an object of Oskar Kolberg’s interest in the late 1870s and early
1880s. The research material related to this region was collected
by Kolberg, similarly as in other regions, from two different types
of sources. The core of his work consisted of field notes written down
during his few trips to that region. Another way of collecting information
for Kolberg’s publication included an extensive study of already
published resources – historical and ethnographical works, collections
of songs, short articles, etc. Kolberg’s study of the musical culture of the
Hutsuls is a very valuable source for the history of the culture of this
part of Europe.</abstract>

Oskar Kolberg’s Study of the Musical Culture of the Hutsuls

<abstract><title style='display:none'>Abstract</title>Polish women-composers of the interwar period (1918–1939) have not been the subject of adequate research so far. We only have some contributory publications and general surveys dedicated to their output. This paper presents the initial results of a study that aims at creating a more multi-sided, in-depth picture of women-composers’ work, including their participation in local and international music life as well as their achievements in the field of composition, the styles and genres practised by selected representatives of this milieu. The paper also discusses the reception of these phenomena in the press of the period. My research leads me to the conclusion that, despite functioning in a kind of ‘parallel world’ in relation to the virtually all-male domain of music composition ‘proper’, the Polish women-composers did penetrate into that world, contributing to its dominant trends and tendencies, from Romantic inspirations to musical modernism, as well as popular music. Their contributions need to be taken into account if we wish fully to reconstruct and appreciate the Polish music created in that period.</abstract>

“Why Are Our Women-Composers So Little Known?”

<abstract>
<title style='display:none'>Abstract</title>
The paper characterises music-involving cultural practices in Cracow’s urban parks, squares, streets, and ice rinks in the period of the so-called Galician Autonomy (1866–1918). Typologies of the spaces where music was performed and of open-air events involving music have been proposed. Music repertoires and performers have been discussed. The main sources for this text are press materials, memoirs, regulations, sheet music, and iconography.
</abstract>

Everyday Outdoor Music Life in Galician Cracow

<abstract>
<title style='display:none'>Abstract</title>
Eminent Polish composer Karol Rathaus (1895–1954) left behind an essay dedicated to his uncle Chune Wolfsthal (1851–1924). In this text, Rathaus recalls his childhood and adolescent years in (Austria-Hungary’s crown land of ) Galicia. His memories of Wolfsthal, a famous klezmer and operetta composer active in the late nineteenth and early twentieth centuries, provide an opportunity to recollect the now non-existent world of Jewish amateur musicians working in Tarnopol and Lwów before World War II. Those musicians performed in synagogues, at family events and social functions, in cafés and tea gardens. Some of them, including Chune, became involved in the activity of the then emerging Jewish theatre, which was a part-vulgar, part-artistic phenomenon.
</abstract>

Jewish Popular Music in Galicia: Karol Rathaus’ Recollections of Chune Wolfsthal

<abstract>
<title style='display:none'>Abstract</title>
The paper discusses Georg Philipp Telemann’s presence in Sorau (now Żary in Poland) in 1704–1708, inspirations from Polish folk music in Telemann’s works, as well as projects undertaken by and in the present-day city of Żary with a view to incorporating and commemorating Telemann’s figure and oeuvre in the city’s contemporary culture.
</abstract>

<italic>Żary – The City</italic>

<abstract>
<title style='display:none'>Abstract</title>
The paper focuses on a comprehensive dance collection compiled by two Wrocław/Breslau town musicians (<italic>Stadtpfeifer</italic>), the brothers Bartholomäus and Paul Hess. The anthology, partly preserved at Wrocław University Library, was published in 1555 at the Wrocław printing house of Crispin Scharffenberg and documents the transition of dance repertoire from the courtly realm to the private and public spheres, which was typical of the mid-sixteenth century. The Wrocław collection, scored for wind ensemble, contains 477 four- and five-part dances of German, Polish, French, and Italian provenance. The paper offers some new views on the repertoire from the collection. Particular attention has been given to the so-called Polish dances.
</abstract>

‘Besolte Instrumentisten der Königlichen Stadt Breslaw’: The Hess Brothers’ Anthology (1555) and Its European Context<xref ref-type="fn" rid="j_muso-2023-0002_fn_001a">*</xref>

The Urban Music Scene

<abstract>
<title style='display:none'>Abstract</title>
The aim of the paper is to situate the most important open-air venues where music was performed on the map of interwar Warsaw. This includes venues in city parks, restaurant tea gardens, streets and squares where mass celebrations and demonstrations took place, as well as the courtyards of tenement houses frequented by street players and singers. In addition to live music, that coming from the radio, gramophone records, as well as megaphones installed in parks and streets has been taken into account. On the basis of press reports, taken mainly from the <italic>Kurier Warszawski</italic> (Warsaw's largest daily newspaper), as well as works of fiction and diaries, the repertoire of works performed in the open air has been reconstructed. The organisers and performers of concerts, open-air shows, and street marches during which music was performed have also been listed. The material is divided into contexts connected with the everyday life of Warsaw's bourgeoisie and working class (during which music, functioning independently or as part of theatrical, cabaret and film performances, functioned as entertainment) and those belonging to the official-public or ceremonial sphere (celebrations of religious and national holidays, military parades, spontaneous demonstrations of supporters of various political groups). Special emphasis has been placed on recreating the social and political context of the latter type of events, which highlight the role of interwar Warsaw as the capital of the state.
</abstract>

<italic>Open-Air Music in Warsaw</italic>

<abstract><title style='display:none'>Abstract</title>The paper is a survey of research on music in territories of occupied Poland conducted by the author in recent years, as well as a review of selected existing literature on this topic. A case study illustrates a principal thesis of this essay according to which music was used by the German Nazis in the General Government as a key elements of propaganda and in appropriation of conquered territories as both physical and symbolic spaces.</abstract>

Music in Nazi-Occupied Poland between 1939 and 1945

<abstract>
<title style='display:none'>Abstract</title>
Farinelli came to Venice only when his career was already well advanced. In 1728/29 he performed there in two operas, <italic>Catone in Utica</italic> by Leonardo Leo and <italic>Semiramide riconosciuta</italic> by Nicola Porpora. These operas needed to become a financial success because of the high remuneration the star singer earned. The composition and adaptation of the operas to the stage uncover the strategies by the impresarios of the Teatro San Giovanni Grisostomo, the Grimani brothers, and by Farinelli himself to secure income and renown. <italic>Catone in Utica</italic> underwent a highly unusual procedure at its very premiere because the opera was “impasticciata”, i.e. merged with pre-existing or newly-composed music by other composers. The substitutions reveal Farinelli's aim to stun the audience in his very first aria on stage. His brother's (Riccardo Broschi's) “Mi lusinga il cor d’affetto” Farinelli had sang earlier in 1728 presents his entire vocal profile in a single aria. In subsequent arias, Farinelli adds some features not present in this aria or concretizes several aspects of it. In the second opera, Porpora's <italic>Semiramide riconosciuta</italic>, Farinelli concentrates on another feature of his vocal style: small, fast, quasi-improvisational motives. Although they are also found in operas by other composers and were also sung by other singers, <italic>Semiramide riconosciuta</italic> is a special case because of their high frequency in Farinelli's role. All in all, the two operas of his first appearance in Venice seem to follow the intention to present his entire vocal spectrum to the audience.
</abstract>

How to Impress the Public: Farinelli's Venetian Debut in 1728–1729

<abstract>
<title style='display:none'>Abstract</title>
The article aims at assessing the differences between Hasse's original setting of Metastasio's <italic>Siroe</italic> in 1733 and the composer's second setting of the same drama, exactly thirty years later, in terms of dramatic, vocal, and musical balance. The two versions will be comprehensively compared with a focus on two main issues. The first is the origin of the two settings, which goes back to two distinct versions of the libretto, originally conceived by Metastasio for Venice and Naples respectively; a different starting point which gave birth to two, largely separate dramatic projects, differentiated by a number of distinctive facets. On the other hand, special attention will be devoted to the play's characters, which, though basically the same in both settings, demonstrate remarkable differences in individual characterisation and overall balance, both as far as drama and music are concerned.
</abstract>

Hasse's <italic>Siroe</italic>, Thirty Years Later: A Veritable Work in Progress

<abstract><title style='display:none'>Abstract</title> The article is an attempt to present important categories of composer Paweł Szymański’s musical language, based on his self-analytical statements, which were in major part answers to musicologists’ questions. Luciano Berio pointed out why the situation of a composer who would like to address questions about his or her music is difficult - a lack of necessary detachment would be one of the reasons. A musicologist, on the other hand, is tempted to construct their own supposedly objective analytical view of a composer’s musical language. The dialogistic approach proposed by anthropological musicology may be a solution to these dilemmas. Other main topics mentioned in the article are related to the role of meta-concepts in Szymański’s musical language.</abstract>

Paweł Szymański’s Self-Analyses Reread

Women-Composers in Poland

<abstract>
<title style='display:none'>Abstract</title>
Determining in an unequivocal and definitive way what the Italian <italic>dramma per music</italic>a was in the eighteen century is only apparently an easy task. Starting with a discussion of the definition of eighteen century Italian <italic>dramma per musica</italic> as a variable spectacular text, the paper attempts to provide a concise taxonomy useful for critically assessing the situations that can arise when analysing the sources and tradition of <italic>opere impasticciate</italic> and <italic>pasticci</italic>. Changes in operatic texts, in all their components (the poetry, music, visual and proxemic aspects) can occur at various levels of their evolutionary textual tradition, in different functions, manners, and for different reasons. The change of operators and other environmental contexts may lead to adaptive reworking, to a varying degree, of one or more of the linguistic elements constituting the work: verse, music, scenes and so on. It should be noted that the documentation of one or more levels may, naturally, be partly or completely lost.
Furthermore, some possible new research themes have been suggested as an attempt to understand the ways and reasons for the peculiarities of the adaptations of Italian <italic>dramma per musica</italic> in foreign countries. Within this context the work’s adaptations created by the composers may reveal facts that deserve to be studied more systematically. For instance, they may have an almost involuntary cognitive, formative function. Adapting a text forces one to reflect on its dramaturgy, to formulate solutions and find ideas that can make it still theatrically effective, It can even, if necessary, transform the <italic>maestro</italic> into a proto-director who guides the musician-actors. It is appropriate to investigate this point and verify, for example, whether and how the adaptations introduced in the various situations by the different <italic>maestri</italic> in some central European theatres could lead to a richer language of musical gestures correlated with an actor’s personal gestural expression which, perhaps, was more explicit or more disguised in those countries.
</abstract>

The Work Concept in Eighteenth-Century Italian Opera: Some Issues, Modest Proposals and Contributions

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